AFRICA UMOJA
Mijn masterproject situeert zich binnen de ‘revival’ van vinyl. De manier van luisteren naar muziek is heel erg veranderd het laatste decennium en dit heeft ook een grote invloed op het ontwerp. Deze heeft de laatse jaren in mijn ogen een devolutie doorgemaakt. Het ontwerp, of tot nog toe, de drager is steeds kleiner geworden, tot het vandaag de dag nog enkel digitaal is. Dit is me vooral opgevallen vanaf ik in het begin van dit academiejaar de LP herontdekte. Er ontlook bij mij sindsdien een enorme appreciatie voor het fysieke medium: ‘de platenhoes’. Ik koos daarom ervoor om de platenhoes als onderwerp te nemen voor mijn masterproef. Ik geniet ervan om bij muziek iets materieel te hebben, dat ook overduidelijk bij die muziek en diens achterliggende thema’s hoort. Er ontstaat zo een soort totaalpakket, dat volgens mij een beetje verloren is gegaan door de digitalisering van muziek. Het ontwerp bij digitale luisteraars wordt hierbij gereduceerd tot een afbeelding van 3 x 3 cm in Itunes.
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THE VISUAL IDENTITY OF MUSIC Als startpunt voor mijn masterproef verzamelde ik op mijn blog visuele identiteiten van een aantal recente muziekartiesten. Een identiteit die consequent is en duidelijk gelinkt is aan de muziek of de boodschap die de muziek voortbrengt.
Dive - TYCHO, ontwerp door ISO50
Piramida - Efterklang, ontwerp - HVASS&HANNIBAL
THE VISUAL IDENTITY OF MUSIC
TYCHO, posterontwerp - ISO50
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Foto - BadBradC (fanart.com)
XX - The XX, ontwerp - The XX, Art Direction - Phil Lee
Step In Shadows EP - SBTRKT, ontwerp - Matt de Jong, Design maskers - A Hidden Place
SBTRKT - SBTRKT, ontwerp - Matt de Jong, Design maskers - A Hidden Place
Step In Shadows EP - SBTRKT, ontwerp - Matt de Jong, Design maskers - A Hidden Place
Live - SBTRKT, ontwerp - A Hidden Place
SBTRKT live at Musica festival, Sydney, foto - Karatyshov
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THE VISUAL IDENTITY OF MUSIC
Bring it On - Goose, ontwerp - L.I.
Bring it On - Goose, ontwerp - L.I.
British Mode - Goose, ontwerp - L.I.
Black Gloves - Goose, ontwerp - L.I.
Low Mode - Goose, ontwerp - L.I.
Little Talks - Of Monters And Men, ontwerp - Of Monters And Men
Of Monters And Men Art, ontwerp - Of Monters And Men
Of Monters And Men Art, ontwerp - Of Monters And Men
Dirty Paws - Of Monters And Men, ontwerp - Of Monters And Men
THE VISUAL IDENTITY OF MUSIC
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Death By Misadventure - Chymera, ontwerp - SNORGIO MORODER
Death By Misadventure, Interpretations Part 1 - Chymera, ontwerp - SNORGIO MORODER
Strange Things Are Afoot - Chymera, ontwerp - SNORGIO MORODER
Iron EP - Woodkid, Illustratie - Stephan Balleux
The Golden Age (Deluxe Edition)- Woodkid, Ontwerp - Onbekend
The Golden Age (Deluxe Edition)- Woodkid, Illustraties - Jillian Tamaki
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The Golden Age - Woodkid, Illustratie - Jillian Tamaki, Art Direction – Pierre Le Ny
THE VISUAL IDENTITY OF MUSIC
INTERVIEW MET NEVILLE GARRICK
As Bob Marley’s close friend and art director during the 1970s and early 1980s, Neville Garrick created some of the most recognisable and powerful images in popular culture. While his covers for albums such as Survival, Exodus and Confrontation have played an integral role in spreading Marley’s music and the Rastafarian faith throughout the world, it would be unfair to label him solely as an album designer. Working tirelessly to promote Rastafarianism and Pan-Africanism over the past 30 years, Garrick is also political activist, author, illustrator, photographer, historian, screenwriter, musician and inadvertent A&R man (his glowing reports of a Steel Pulse concert helped the British band win its first record deal). His professional career began in the early 1970s, when, following four years at University of California, Los Angeles, he returned to his native Jamaica to be art director at the The Kingston Daily News. Following an encounter with Alan ‘Skill’ Cole, an old classmate who had become Marley’s personal manager, Garrick soon found himself designing covers and eventually touring the world with the reggae superstar. Starting with 1976’s Rastaman Vibration, Neville created a series of classic covers, including Exodus, Kaya, Babylon by
THE VISUAL IDENTITY OF MUSIC
Bus, Confrontation, Buffalo Soldier and Survival. As reggae’s preeminent designer, he also created covers for Bunny Wailer (Blackheart Man, Struggle, Bunny Wailer Sings the Wailers and Liberation), Peter Tosh (Wanted Dread or Alive and No Nuclear War), Ras Michael (Rastafari), Burning Spear (Hail Him and Man in the Hills), Steel Pulse (Earth Crisis and Babylon the Bandit), and Rita Marley (Harambe). Currently he is working on Universal Records’ reissues series of Marley’s work on Island, including a double CD of Exodus, for which he wrote the liner notes. In July 2001, shortly after the twentieth anniversary of Marley’s death he finished a life-size hologram of Marley for the Bob Marley Museum in Jamaica. Through his covers, Garrick has played a significant role in introducing Ethiopian art and culture to Western audiences. In 1999 he published his landmark photography book A Rasta’s Pilgrimage: Ethiopian Faces and Places (Pomegranate Press) and wrote the introduction to Chris Morrow’s own book about the genre, Stir It Up: Reggae Album Cover Art (Thames & Hudson). Chris Morrow: Did you have any formal art training when you were young? Neville Garrick: I never got a chance to do art until I was in fourth form. I used to draw from comic books and stuff like that, but I was in the A stream, and in the British system, when you’re in the A stream, you don’t take woodwork, metalwork, art, that sort of thing. You do physics and chemistry and biology. But I dropped French and Latin and that’s how I got time to join one of the art classes. That’s how my training started, when I was fourteen. CM: How did you first get involved in graphic design? NG: My parents wanted me to do business or medicine. They would say, ‘Artists are always poor.’ So it
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wasn’t encouraging, but I had a set mind that I wanted to do that and I ended up going to the States. They had an art school in Jamaica at the time, but it didn’t really have a graphic design programme. And I didn’t want to do fine arts, though that was my first training. When I entered UCLA at the end of 1969 I had to list my major as economics, because there was no room in the art department. I took a few art courses and got As, so the next semester they had to accept me. Then I started being one of the editors of Nommo, which was the Black student daily. There I could apply my skills in design on the cover, things like that. I started doing political posters. One of my first was of Angela Davis. I was involved in every kind of student demonstration on campus. I would do silk-screen posters for the protests, with the power fist and that all that. CM: So how did you get yourself through school? NG: I used painting as a way to pay my tuition. Stuff dealing with African themes, Black history, social commentary. I sold my first painting for $50, to the head of the African American studies centre and my price went up to 0. By the time I left I was getting $400 a painting. CM: How did you wind up going back to Jamaica? NG: I was recruited to work for this new newspaper, The Kingston Daily News, as the editorial art director. The Sunday magazine was my favourite thing. I used to design that, lay it out, I even did the paste-up. At that time we didn’t have computers, so that was exciting. I got to work in colour and I could take it from content to press. And while I was there Alan “Skill” Cole, who was Bob Marley’s manager at the time, came to me to do the sleeve for Judy Mowatt’s Mellow Mood. I did that, and then he said to me, “Why not come work for Rasta?” That was about 1973.
CM: Were you familiar with the Wailers at that time?
showed him the photos and he gave me the go-ahead to do the posters.
NG: Yeah, I had been familiar with Bob’s music since “Simmer Down”. When that came out in 1963, I was a teenager. I was always into music. But I never really met them.
CM: How involved was Bob in making the covers?
CM: After the Mowatt cover, did you think you would get into designing sleeves full time? NG: Yeah, I liked that. Before I even did that first one for Bob, I did Rastafari, the Ras Michael album, with a young picture of His Majesty [Haile Selassie]. A lot of people liked that. I resigned from the paper and went to hang out at 56 Hope Road [the Kingston house where Marley and his entourage lived during the 1970s and which later became home to Tuff Gong Records] and I kind of created my job as art director for Tuff Gong. I was never on a salary, but I would do all the labels. The first album I tried to do for them was Natty Dread. I actually flew to England with some images that I had shot of Bob in Jamaica. He had performed with Marvin Gaye at this benefit for Trenchtown and blew Marvin off the stage! That’s the first
time I realised how big Bob would be. I really got into the Wailers. That led to me doing some posters of Bob and the Wailers, black and white posters, from the photographs I had taken at the concert. I met Bob and
NG: He let me do my own thing. The first album he let me do was Rastaman Vibration. When I did Natty Dread I went out to England, and I took the images to Island Records. They kind of liked them, but said they weren’t recognisable enough. Because Bob was relatively new. They wanted something more portrait-like. And I hadn’t brought any of the black and white stuff that I ended up using for Rastaman Vibration, Bob in that militant, Che Guevara look. I did something else for Rastaman Vibration, which was Bob with his face in the map of Africa. That was really a new thing at that time. But the design had some similar elements to [Bunny Wailer’s] Blackheart Man, which I had done before Rastaman Vibration – lions and His Majesty and things like that. Chris Blackwell [the boss of Island Records] liked it, but Bob said it was too close to Blackheart Man, so I had two days to come up with a new concept for Chris to take back to England. I was living at Hope Road – we had a cottage near the main house – and I went down there to ponder about it. I was messing around, and I did a water-colour wash over a photocopy of one of my black and white images of Bob. Canvas was really expensive and I’d been painting on burlap – there was a company in Jamaica making burlap. So I cut the image out and stuck it on burlap and put it on my wall. And lo and behold, Bob was outside my window. I wasn’t aware, but suddenly heard him say, “An album cover dat!” And I look out and Bob says, “I like that, I like that.” After that, if anyone had any input it was Chris. Bob usually left it up to him – he felt Chris knew more about marketing. Once Chris said, “Yeah, that was great,” it was easy for me,
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I didn’t have to go through the Island Records art department and worry about anyone else approving. This was the first time a Jamaican act had any type of control of what their album covers looked like. Whatever the record company came up with, that’s what they accepted. So I kind of created myself as the art director, because no band never had nothing like that before. Then I started to do lighting, stage setting, all that stuff – they really didn’t know the value of that at that time. As a result of us, Third World and other groups that came up had their own lighting and people working on their art. CM: Didn’t you play with the band? NG: Yeah, the thing with Bob was that he encouraged people around to get involved and I ended up playing percussion, the tambourines, the drums . . . Being involved in the band gave me a greater insight into what was going on in the music. I never really considered myself a musician, but what I learned made me part of the band and allowed me to go on tour with them. CM: How political were your covers? NG: Rastaman Vibration, with the burlap and all, was trying to show the roots of the Rastaman. And I always liked to use gold, green and red, because they’re such brilliant colours, even in a minimal way. For
INTERVIEW MET GARRICK NEVILLE
example, on Rastaman Vibration I just put three stripes on Bob’s hat, instead of plastering it all over it. Even if you only use the colours as pen lines, they’ll still come out. I was trying to use the covers to make some sort of social commentary. To get in people’s heads a little bit. I knew it might not save the world, but I wanted to stimulate some kind of thinking. CM: Did the covers influence other genres? NG: I didn’t take much notice. It probably came out more in other reggae covers, where people would do similar things. CM: Where you cool with that? NG: Yeah, I was cool. That’s the biggest flattery. Where I think using Rasta colours made more impact was in lighting. When I first started lighting Bob, I remember wanting to use Roscoene 874 (I think, I can’t remember the number), which was a real brilliant green, to get the green in the rasta colours. But all the lighting companies were saying, you can’t use green because green is a dead colour. Eventually I saw punk groups and rock groups using the same intense greens that I was using with Bob.
CM: Were there censorship issues?
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CM: What were the main materials you used on covers?
NG: No, never. Chris always gave me that respect.
NG: Sometimes I’d use illustrations, like in Confrontation. Rastaman Vibration was kind of an illustration. But concept was the most important thing to me, because we were doing concept albums, not compilations. The titles, which I helped Bob pick a lot of the time, were usually oneliners like there is Kaya, Survival, Confrontation and Uprising. The challenge was to reflect what was in the package. The album cover is the first thing a person would see in a record store. One guy reviewed Exodus, and said he was kind of scared of what the music would be like because the cover was like a Cecil B. De Mille production, with all that gold. Usually when you have a very slick sleeve, the record ain’t no good! Too Hollywood. I would never design something for somebody without first listening to the music.
CM: And outside Island? NG: Well, the thing was, once it was okayed by Chris, I never cared what anybody said. As far as I was concerned, reggae was another bag and we were blazing a trail. No one had ever been there before, so no one could direct us. Even my lighting, that wasn’t conventional. Thank God for light boards. There was one I liked, which was like a keyboard, I actually felt like a musician. Being part of the band, I knew all the beats. That whole thing with lighting is anticipation – timing is very important. You can’t come after the beat or before the beat – you have to come on the beat. After a show I’d be as sweaty and exhausted as Bob. CM: You also designed covers for Peter Tosh, among others. What was it like working with him? NG: Peter sometimes had more input than Bob. No Nuclear War, for example, that was mainly his
NG: Yeah, most times when groups did backdrops it was, like, their logo or something. I was reflecting what the music was really speaking about.
THE VISUAL IDENTITY OF MUSIC
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an
NG: No, I did everything by myself. CM: Were you comfortable with photography? Your book was great . . . NG: Well, I never considered myself a photographer, I maybe had one class at UCLA on photography. For me, photography was just another tool, like painting, illustration.
My lighting was untrained. All I was trying to do was reflect what the music was about. Bob’s audience was predominantly young white kids and I didn’t want the message to get lost in the beat. I created a Marcus Garvey [the Jamaican nationalist leader] backdrop, or a Haile Selassie backdrop, I think I was channelling them mentally into what the music was reflecting. CM: So that was their introduction to the culture, the religion?
CM: Did you assistant?
concept. He wanted to be standing on two missiles and shooting lighting bolts out of his hand, wearing a gas mask, stuff like that. Bob never interfered in what I wanted to do, and I preferred it that way. But that’s how Peter is.
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When I did the book on Ethiopia, that was the first time I’d shot so many rolls of film in my entire life. I was always very economical – the negatives from Rastaman Vibration are all on one single roll of film. I never had money – if there were 36 frames, I’d try to get the maximum. Whereas a photographer in the US would be rolling off six or seven rolls of film to look for one photograph. It wasn’t till I got to Ethiopia and decided to record my travels, I shot 60, 70 rolls of film in three and a half months. I’d never done that in my life. I also shot video footage of
my trip, which I’m still trying to see if I can get money to get it edited to make a documentary. CM: How much emphasis do you put into technique? NG: I didn’t really know much about technique. In fact, when we did Songs of Freedom, the Adrian Boot photograph I selected was a black and white photo, and we used Photoshop for one of the very first times and colourised it. It was a picture that Adrian had kind of discarded, but I liked it. He was, like, “Oh, well, the lighting wasn’t right, blah, blah, blah.” And I said, “I don’t care about that. I like the mood. I like the composition.” So we went in and we tweaked it just right. It was always the subject matter that was important to me. It wasn’t the technique. You can be technically great, but if you don’t have vision, then you just have a technically great photograph. That’s not going to inspire nobody. CM: You’re working on several Marley reissues right now. How is designing a CD cover different than an album sleeve? NG: The biggest difference is size. A record sleeve is basically 12in by 12in, a little bit bigger. Whereas a CD is half the size, so you can’t do something with a whole bunch of details in it. Like Earth Crisis, which I did for Steel Pulse. I put a lot of things into that – the Ku Klux Klan, the Pope, Vietnam, the IRA, famine in Ethiopia. With half that size, a lot of the information could get lost. The one advantage the CD has is that the record company might do a booklet, where you could put the words of the songs, more images. But I definitely preferred the LP format. CM: Do you think the inclusion of booklets and such has reduced the importance of covers on CDs? NG: No, it’s just you have less room
to work. Whatever statement you make, it has to be small, but very eye-catching. You can’t go into little tiny details because they’re going to get lost. CM: How has technology changed things since you started? NG: When I started I had to handletter, had to get things typeset, and if the size wasn’t right, you had to do it over again. Then you had to do the paste up, get rubber cement. It took a longer time. CM: Were you always in a rush situation? NG: Most of the time. That’s been the story of my life. They always wanted it yesterday. CM: Do you have a favourite cover you designed? NG: Survival and Confrontation. Confrontation was after Bob had passed and no one knew what to call the album. But while he was sick, he had said to me, “You must start working on the new album.” And I said, “Don’t worry about that. We’ll talk about that when you are well.” But he said , “I want the album to be called Confrontation. The fight of good against evil.” So when they decided to release those tracks that he had left, I said, ‘The name of the album is Confrontation.’ I came up with the Ethiopian theme of St George and the Dragon. A lot of people thought that was a British concept, but I found there were twelfth-century frescos of St George at Lalibela [a holy city in Ethiopia] because he was Ethiopia’s patron saint. So I figured representing Bob as St George would be a fitting tribute to him. I spent about 100 hours painting that thing, because I figured that be the last album I’d be doing for Bob. CM: Talk about the gatefold for Confrontation. That battle [the battle of Adowa,
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in which Emperor Melenik’s army defeated the Italian forces] took place in 1896 and there are a lot of Ethiopian depictions of it in their art. So what I did was kind of an adaptation of my research on those paintings. I painted the Italians that way because they tend to put the evil people in a profile view when they paint. When they’re evil you only see one eye. CM: How big of an influence has Ethiopia been on your work? NG: Ethiopian art and Ethiopian history is still unknown to the West. I’ve been writing a script called Article 17, which is based on that war. That’s my epic that I want to get made one day. It’s hard to sell, because they look at it as a documentary. But I’ve been writing it as a feature – I start it off as a love story between an Italian girl and an Ethiopian refugee taking a class in international conflict at Villanova University. And I weave the story from there, using flashbacks, back to the war and the life and times of Melenik. I describe it as Jungle Fever meets Braveheart. CM: Have any Jamaican designers followed in your footsteps? NG: Well, I haven’t really kept track, because I’ve been more into film and music. I don’t really know what’s happening on the reggae scene. As far as I’m concerned, all the songs have been written by Bob already. First published in Eye no. 41 vol. 11, 2001
INTERVIEW MET GARRICK NEVILLE
Babylon By Bus - Bob Marley & The Wailers, Ontwerp - Garrick Neville
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Cath A Fire - Bob Marley & The Wailers, Ontwerp - Garrick Neville
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INTERVIEW MET GARRICK NEVILLE
INTERVIEW MET STORM THORGERSON
and find more details about what’s behind it. If you ask half of the artists I work what a particular song is about, they’ll say, “I have no idea…” But some of them have a very strong idea. It’s their idea that I’m interested in, not mine – not because that’s the only way to interpret the song but because it’s his music and his song. This issue of interpretation applies to your own work as well, doesn’t it?
Part designer, part performance art choreographer, Storm Thorgerson has masterminded some of the most iconic album art visuals ever. Though particularly well known for his work with Pink Floyd, he’s worked with the likes of Led Zeppelin, Black Sabbath, The Offspring and Anthrax, and continues to work for modern acts like Muse, Dream Theater and Mars Volta. He arrived in Sydney this week for the opening of an exhibition of his work in Paddington’s Global Gallery. (All pics: Storm Studios) Would you describe the main body of your work as surrealist? I don’t think of the work as surreal so much as unreal. Or, no: really real. Weirdly real. Not unreal at all! Sometimes I think it might be otherworldly or contrary… but it’s very difficult to talk about your own work in these terms. To me they’re just things I think of. Tell us about your method. Working for Muse is completely different from working for Mars Volta, but the approach to try to represent the music is very similar. I try to deconstruct the music in order to reconstruct it – I want to find out what obsessions of the musician are reflected in the music. I dig a bit, you know. I wheedle my way in
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Yeah, I got an email from someone the other day who said he’s been studying the cover of Wish You Were Here for 25 years, and he said, “I know what it’s about! The man on fire is the devil!” And well, it’s right for him. I would rather elicit some response than none. My idea of it isn’t necessarily what it is to somebody else, which is fine. Do you hear music differently to us normal people? I don’t think so. Normally I’m not working. It’s only when I’m working that I switch on the part of the brain that intends to illustrate it. But otherwise I listen like a punter. I saw Leonard Cohen play the other day, which was extraordinary – I didn’t see any pictures, because I’m not working for him.
One of the drawbacks of the digital world is that you don’t have the same experience with packaging. Bands were able to express their attitude by the packaging, and of course you can’t do that so well on the Internet. Album covers may or may not survive, but I think there’ll always be room for ‘visuals’ in music. I might not be doing album covers next year – I might be doing stuff for the Net. You’ve had to coordinate the flight plan of an inflatable pig, built a house-sized sphere out of American car parts, and lugged 700 hospital beds onto a beach… Have you never been tempted to do it all on a computer? I think they have a quality that they wouldn’t have if they were done on a computer. It gives me a chance to check it out, see if it works, see if it’s amazing – which it usually is. If you look at Wake Up And Smell The Coffee, what you see is what it looked like. It was more like a performance art piece. We just stood there goggle-eyed as two hundred thousand red balls went down the beach and disappeared out of sight. It looked amazing. You just hope that a photograph will look a bit amazing.
You’ve been creating the visuals for Pink Floyd since their second album – was that first gig a big moment for you? Not at the time. It was just an opportunity that presented itself. Actually it was doing Ummagumma that really pleased me, because it felt like it worked. It felt like this was something I could do. Although I think the band liked the cow [Atom Heart Mother] better actually… Do you think that album art is less important these days than in the days of vinyl?
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If it’s a photograph of a real event it becomes a performance, in a way. Either a set-up scene like In Through The Out Door or Frances the Mute; a sculpture like Stomp 442 or Division Bell; a stunt like Wish You Were
Here or Chrome by Catherine Hill; or land art like Elegy. Would your work be different if you had Photoshop in the ’70s? Well, artists are always affected by the medium they work in. But we don’t use the computer much now so I don’t supposed we’d have used it much then. A computer is like any other tool. We use it occasionally for comping and sometimes to clean things up and remove blemishes. You’ve said that you have no favourites…
Is that how you pronounce it? I’ve been pronouncing the ‘u’ as in ‘up’…
They’re all children. I’m reluctant to prefer one. Sometimes I think they’re all crap, but I think most artists are like that. I think it’s impossible to have a body of work and not be totally narcissistic – or be totally paranoid.
You can say it that way if you want. But Ummagumma was very important to me because it felt like it worked. It felt like this was something I could do. I don’t know about the band – I think the band liked the cow better actually.
Well, you’ve worked with musicians, so you know what you’re talking about.
Let’s talk about that cow. You said once that the Atom Heart Mother cover is the opposite of what a cover should be. Do you still think that?
I’ve no idea what I’m talking about Darryn. I just don’t want to be dull – there’s plenty of that in the world at large. I try to be curious and interesting if I can. I’m not interested in being shocking or provocative for the sake of it – I’d rather be a bit odd. Maybe I am a bit odd. I’d like to talk about some specific album covers, starting with Pink Floyd. Your first gig was for their second album, A Saucerful of Secrets – did it feel like the beginning of a beautiful friendship? Not at the time. I was interested mostly because it was an opportunity that presented itself. The band didn’t want the record label to do it, so they said, ‘You do it.’ What about the next album, Ummagumma? [Pronouncing the ‘u’ as in ‘put’] Ummagumma pleased me…
Yeah. It makes me smile. This silly old cow. You know, what’s it doing there? I hoped people would look at it and think, ‘Why a cow? What the fuck has a cow got to do with the price of eggs?’ But it’s got very much to do with Pink Floyd. Another proposed cover for this album ended up being the cover to Def Leppard’s High ’N’ Dry, is that right?
Not personally. I don’t know what he means particularly. He probably means it’s emblematic. Unlike Wish You Were Here, or Animals, the prism is a singularity. It’s very simple. In a sense it’s very common. It’s an attribute of nature. It doesn’t belong to Pink Floyd or me or anybody else. I think that’s what I was trying to do: capture a quality of light that didn’t say anything too particular. It was also because the late Rick – God bless him – was quite keen to have what he called a ‘cool graphic’… which may be the same as what Nick means when he calls it a logo. You know, with that rainbow of light, you unwittingly provided the ‘proof’ for all those Pink Floyd/Wizard of Oz conspiracy theorists… Yes, I don’t know why that happened. There are a lot of things written about Pink Floyd that are simply untrue. But people are inclined to weave their own stories in, which is fine. Animals provided some very Spinal Tap moments, didn’t it? The pig over the power station was a saga – everything that could go wrong did go wrong. Except the end result is fine. I mean, I think it’s fine: it isn’t even one I liked particularly. It was the band’s idea, not ours. I was kind of hesitant about it, thinking it might be a bit silly. But it worked out all right.
Yeah, and another one went to the Principal Edwards. If you’ve got a good idea, just because it’s not suitable for one group doesn’t mean it’s not suitable for another. Occasionally you can recycle these things, as all artists do – especially musicians. But we don’t do that very often. Sometimes. Nick Mason described the prism on Dark Side of the Moon as something of an advertising logo. Do you agree with that?
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INTERVIEW MET STORM THORGERSON
hope that a photograph will look a bit amazing. What about that ball of scrap metal, for Anthrax’s Stomp 442?
What about A Momentary Lapse Of Reason – when you look at this cover, what do you see? Well, because that job was very difficult, I tend to remember the job itself. 700 beds. They were all iron and very heavy – and we had to do it twice because it rained. When we finished, and stood at the camera end, it just looked incredible. Totally stupid of course and completely barmy. I just like the idea of the maid struggling to make all these fucking beds that go on for miles. There’s probably a more solid reason why she’s there but I can’t remember it now. I remember she was very attractive. Tell us about the picture on the promotional posters for this exhibition. It was for the Cranberries’ Wake Up And Smell The Coffee. I had the idea of someone being invaded by small granules of coffee floating up the stairs from the kitchen and nestling in their nostrils, shouting, “Wake up!” We drew one with the balls the size of tennis balls, but they were too small for my rampant ego, so we made them gym balls. Then we took it outdoors because there were too many to fit in the house, and we did it on a beach so they’d bounce.
That was much more like a contemporary sculpture. It was made out of discarded car parts – American car parts, because they’re an American band. But yes, making a sculpture out of rubbish is quite a long tradition. The sculpture was made into a perfect ball – about the size of the house. Very scary to do that job. Quite dangerous. What happened to the sculpture afterwards? Unceremoniously taken apart?
What about their In Through The Out Door album? Well, it was done like a film. We built a set, and halfway through we decided to shoot variations – so there were in fact six different covers. We built a set in the round – not one, not two, not even three, but four walls. It was fantastic. Really, really enjoyable.
It was dismantled, yeah. The people at the place where we built it didn’t want it left there. I’d also like to talk about Led Zeppelin’s Presence. Such an enigmatic cover. I was amazed they chose that one – because it’s nearly a piece of kitsch. It’s quite a strange cover, even for Zeppelin. I always really liked it, I still do. But I don’t know quite what the band saw. Well, they loved the concept so much they named the album after it, didn’t they?
When we finished it and stood in the middle of it, it was just like being in the middle of New Orleans.
They did in fact, you’re right. They felt that somehow or other it was good for them, that it represented their power.
It’s a pretty amazing cover. Well, I don’t know about that. The cover was very complicated. Because Zeppelin, of course, was complicated. But there was also that additional concept, of six different covers wrapped in a paper bag – so you didn’t know what cover you had until you unwrapped it at home.
What you see is what it looked like. It was more like a performance art piece. We just stood there goggle-eyed as two hundred thousand red balls went down the beach and disappeared out of sight. It looked amazing. You just
THE VISUAL IDENTITY OF MUSIC
One of the things the cover is about is shadows, and how light hits an object. The light and shade of an object tell you its shape – but the object in Presence has no light and shade. So is it an object at all? It’s just contrary, really. I’ve always liked it for that, but I think the band found something else in it.
Oh yeah, I like the brown paper bag – that was good. Yeah, I thought it was all fun. Friday 05 Dec 2008 - 3:00 PM - www.thevine.com
14
Stomp 442 - Anthrax, Ontwerp - Storm Thorgerson
The Division Bell - Pink Floyd, Ontwerp - Storm Thorgerson
Tree Of Half Life - Pink Floyd, Ontwerp - Storm Thorgerson
Echoes - Pink Floyd, Ontwerp - Storm Thorgerson
15
INTERVIEW MET STORM THORGERSON
LABEL: AFRICA UMOJA In de tijd dat mijn project nog in zijn beginfase zat, speelde ik muziek in een groepje als percussionist. De soulzangeres, Julie Daems, was tegelijkertijd bezig met het scrhrijven van muziek voor een soloalbum. Tijdens een gesprek kwam ik op het idee om Julie, of JWL, als onderwerp te nemen voor mijn masterproject. Ik zou JWL grafisch ondersteunen door een visuele identiteit voor haar te creëren. Ik begon van het concept dat JWL een ruwe diamant is, die naarmate de tijd en door oefening steeds meer geslepen zou worden. Hierdoor werd ‘een proces’ een thema waarrond ik wilde werken. De teksten van Julie lopen ook een proces door: van duistere en donkere teksten naar meer opgewekte teksten. Dit proces spiegelde ik naar de vier fases van een diamant in wording.
JWL
16
DO
WHAT YOU
LOVE
17
JWL
◊
JWL
naamkaartjes liggend.indd 2
JWL
◊
14/01/13 13:04
18
◊
JWL
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JWL
◊
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JWL
◊
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JWL
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JWL
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JWL
19
JWL
AN INTERPRETATION OF REGGAE Na onderzoek zag ik mij genoodzaakt om mijn onderwerp bij te sturen. Zo kwam ik tot de constatatie, dat een visuele identiteit voor één artiest mij te veel zou beperken. Na enkele brainstorms kreeg ik het idee om een gerne van een nieuwe visuele identiteit te voorzien, met name reggea. Bij de meeste gernes, heeft elke artiest zijn eigen visuele identiteit. Bij reggea hangt de artiest zijn identiteit op aan de rastafari beweging. Dit stelde me in staat om een passende visuele identiteit te ontwerpen, voor een groter geheel dan enkel één artiest.
Super Star Roots Disco Dub - Jonnie Clark, Ontwerp - Onbekend
Blackboard Jongle Dub - The Upsetters, Ontwerp - Onbekend
Massive Dread – Massive Dread, Ontwerp - Onbekend
AN INTERPRETATION OF REGGAE
Agravators Meet The Revolutioners, Ontwerp - Onbekend
20
Legalize It - Peter Tosh, Foto Cover - Lee Jaffe
21
AN INTERPRETATION OF REGGAE
Binnen de verzameling subgenres binnen reggae koos ik voor ‘Roots albums die het thema ‘Back to Africa’ belichamen.
Love Thy Neighbour - Ras Michael & The Sons Of Nefus, Ontwerp - O’Neil Nanco
AN INTERPRETATION OF REGGAE
22
Solid Gold - African Dub, Ontwerp - Onbekend
23
AN INTERPRETATION OF REGGAE
LABEL: AFRICA UMOJA De ontwerpen die ik heb gemaakt zijn ‘remakes’ van negen originele reggaeplaten, die ik fictief heruitgeef via mijn eigen label: ‘Africa Umoja Records’, wat ‘Africa Unite’ betekent in het Swahili. Tijdens mijn onderzoek naar Afrikaanse symbolen, botste ik op het Nsibidi. Dit is een systeem van symbolen, dat origineel afstamt van wat nu zuid-oost Nigeria is. Ik was heel geïntrigeerd door dit symbolenschrift en wilde dit zeker gebruiken in mijn master. glyph
status
word (transliteration)
translation (English)
C
àlà
ground, land
Mm
ntu
vagina
Mm
utu
penis
Mf
úmù
children
Mmf
ojìjè
walk, walking
N
ndi
people of
Mm
ókwú
talk (n.)
O
LABEL: AFRICA UMOJA
24
unity
O
íjè
journey
Mmf
waá
split
AFRICA UMOJA Records
AFRICA UMOJA
25
LABEL: AFRICA UMOJA
A
331/3
AFRICA
AFRICA
AFRICA CALLING
AFRICA CALLING
A
331/3
They Talk About Ghetto Cry Down Down Africa Calling
B
331/3
UMOJA
AFRICA
A
33 1/3
B
UMOJA
B
33 1/3
33 1/3
UMOJA
UMOJA
A
331/3
AFRICA
AFRICA
AFRICA CALLING
AFRICA CALLING
They Talk About Ghetto Cry Down Down Africa Calling
UMOJA
LABEL: AFRICA UMOJA
B
331/3
AFRICA
A
33 1/3
Set Jah People Free Life s Road Whoe Whoe I Wish We ll Be Ready
26
A
331/3
B
331/3
Set Jah People Free Life s Road Whoe Whoe I Wish We ll Be Ready
UMOJA
B
331/3
AFRICA A
331/3
AFRICA A
AFrica calling
331/3
B
B
331/3
AFrica calling
They Talk About Ghetto Cry Down Down Africa Calling
Set Jah People Free Life's Road hoe Whoe I Wish We'll Be Ready
UMOJA
UMOJA
331/3
I KONG AND JAMAICA
I KONG AND JAMAICA
A
331/3
A
331/3
A
AFRICA UMOJA
AFRICA UMOJA
records
records
AFRICA CALLING
AFRICA CALLING
UMOJA
A
B
331/3
B
AFrica calling Set Jah People Free Life's Road Whoe Whoe I Wish We'll Be Ready
AFRICA
331/3
B
331/3
They Talk About Ghetto Cry Down Down Africa Calling
AFRICA
They Talk About Ghetto Cry Down Down Africa Calling
331/3
AFrica calling
Set Jah People Free Life’s Road Whoe Whoe I Wish We’ll Be Ready
331/3
B
331/3
UMOJA
27
LABEL: AFRICA UMOJA
DE ORIGINELEN War Ina Babylon - Max Romeo & The Upsetters, Illutratie -Tony Wright
Aan het begin van het ontwerpproces luister ik naar het album in kwestie en lees ik de lyrics. Soms kies ik ervoor om: de algemene sfeer van het album te nemen als vertrekpunt, de titel van het album, één bepaald nummer of een stuk uit de songtekst. Het kan ook dat ik de algemene ‘Back To Africa” sfeer wil oproepen met een album, door Afrikaanse elementen of symbolen te betrekken in het ontwerp. Nadat ik dit heb beslist, verzamel ik het nodige beeldmateriaal als inspiratie en voor eventueel gebruik in mijn ontwerp. Bij het betrekken van symboliek, ontstaat het gevaar te vervallen in clichés. In de meeste gevallen probeer ik de symboliek te vertegenwoordigen in een nieuwe vorm zodat het niet cliché overkomt. In andere gevallen omarm ik deze clichés en combineer ik deze typische beeldtaal met andere symbolen of mijn eigen beeldtaal, zodat er iets nieuw en fris ontstaat. Ik tracht in mijn ontwerpen uit de buurt te blijven van de typische reggae-beeldtaal en er een eigen interpretatie en beeldtaal aan te geven.
Africa Calling - I Kong and Jamaica, Illutratie - T. Smith
The Promised Land - Dennis Brown, Foto Cover - Beth Lesser
DE NEGEN
28
Africa Must Be Free By 1983 - Hugh Mundell, Ontwerp - Richard Bangham & Beth Trepper
Marcus Garvey - Burning Spear, Ontwerp -Bloomfield/Travis
Visions- Dennis Brown, Ontwerp - Onbekend
Arise - The Abyssinians, Ontwerp - Onbekend
Equal Rights - Peter Tosh, Ontwerp - Andy Engel
African Roots - Michael Rose, Ontwerp - Onbekend
29
DE NEGEN
30
WAR INA BABYLON Max Romeo & The Upsetters
01 02 03 04 05 06 07 08 09
One Step Forward Uptown Babies Don’t Cry I Chase The Devil War Ina Babylon Norman Stealing In The Name Of Jah Tan And See Smokey Room Smile Out A Style
31
WAR INA BABYLON - MAX ROMEO & THE UPSETTERS
32
33
DETAILS
“IYA MAN SATTA AT THE MOUNTAIN TOP De val van de toren van Babel - Cornelis Anthonisz 1505 – 1553
Mezzotint with etching by John Martin (1789–1854)
WAR INA BABYLON - MAX ROMEO & THE UPSETTERS
34
WATCHING BABYLON BURNING RED HOT“
The New Tower of Babylon (http://www.markmallett.com/blog/the-new-tower-of-babel/)
35
INSPIRATIE/ONDERZOEK
http://www.layoutsparks.com/1/43552/Boom-fire-volcano-layout.html
WAR INA BABYLON - MAX ROMEO & THE UPSETTERS
36
Foto - Maxmalt (http://designspiration.net/image/88514418195/)
37
INSPIRATIE/ONDERZOEK
“ONWARD, DON'T STEP STEP OUT OF
Jim Kazanjian
WAR INA BABYLON - MAX ROMEO & THE UPSETTERS
38
FORWARD, BACKWARD BABYLON“
39
INSPIRATIE/ONDERZOEK
WAR INA BABYLON - MAX ROMEO & THE UPSETTERS
40
41
EXPERIMENT
W W
A A
R R
.
I
N
MAX ROMEO
W W
A A
R R
MAX ROMEO
B
.
I
N
B
Y
THE UPSETTERS
B
A
B
Y
L
O
N
W
A
R
.
I
N
A
A
THE UPSETTERS
&
A
A
L
O
N
MAX ROMEO
B
WAR INA BABYLON - MAX ROMEO & THE UPSETTERS
42
THE UPSETTERS
A
B
Y
L
O
N
WW AA RR W W A A R R ..
MAXMAX ROMEO ROMEO
II
NN
AA
THE THE UPSETTERS UPSETTERS
&
B B AA BB YY
LL
OO
NN
W
A
R
I
N
A
MAX ROMEO
B L
MAX ROMEO
THE UPSETTERS
&
A
B O
Y N
WAR I N A BABY LON &
THE UPSETTERS
43
EXPERIMENT
44
AFRICA CALLING I Kong and Jamaica
01 02 03 04 05 06 07 08
They Talk About Ghetto Cry Down Down (Babylon Walls) Africa Calling Set Jah People Free Life’s Road Whoe Whoe I Wish We’ll Be Ready
45
AFRICA CALLING - I KONG AND JAMAICA
46
47
DETAILS
‘Calling Africa’ roept bij mij een soort gemis op naar een thuis die verloren is gegaan. Met deze hoes ging ik dan ook op zoek naar het huiselijke en uitnodigende van Afrika. Daarbij zocht ik zowel naar de traditionele uitvoering van deze visuele symbolen als de westerse variant en kijk erop. Zo stootte ik onderandere op de muurschilderingen van het Ndebelevolk. Toen ze in 1883 een oorlog verloren tegen de naburige blanke boeren, ontwikkelde ze deze vormentaal (foto’s links) als symbool voor continuïteit en cultureel verzet.
Square House (http://hood-lum.com/20-March-2011-Ndebele)
Deze BMW (foto rechts) is een meer hedendaagse uitvoering van de Ndebele decoratie, geschilderd door Esther Mahlangu, een ZuidAfrikaanse Kunstenares. Ook bekeek ik het gebruik van dierenvellen bij zowel traditionele volkeren als door het westen.
Square House (http://hood-lum.com/20-March-2011-Ndebele)
AFRICA CALLING - I KONG AND JAMAICA
48
BMW Art Car - Esther Mahlangu
49
INSPIRATIE/ONDERZOEK
African beads (http://www.dreamstime.com)
AFRICA CALLING - I KONG AND JAMAICA
50
African Patterns - Jaxine
51
INSPIRATIE/ONDERZOEK
“I Animal Skin Chair Exotic Luxury Furniture, Design - Michel Haillard
HEAR HAPI IV, King of Bana, Cameroun, Foto - Daniel Lainé
(http://www.all-room-decorations.info/tag/tribal-life)
AFRICA
AFRICA CALLING - I KONG AND JAMAICA
52
The Afrodizzia African Art Gallery
CAN
CALLING”
53
INSPIRATIE/ONDERZOEK
AFRICA I Kong And Jamaica
CALLING
AFRICA I Kong And Jamaica
CALLING
AFRICA CALLING - I KONG AND JAMAICA
54
55
EXPERIMENT
56
THE PROM
THE PROMISED CALLING I Kong and Jamaica
01 02 03 04 05 06 07 08 09
Emmanuel God Is With Us The Promised Land Well Without Water Open Your Eyes The Creator Troubled World The Half Oh What A Day Together Brothers
10 11 12 13 14 15 16 17
57
A Cup Of Te Slave Driver Three Meals A Day Man Next Door Want To Be No General General Home Sweet Home Emmanuel
THE PROMISED LAND - DENNIS BROWN
58
59
DETAILS
“Make a step down to Wasmara, then we stopped in Addis Ababa Made our way to Shashamane land, riding on the King’s highway” The Promised Land
THE PROMISED LAND - DENNIS BROWN
60
THE TOWN THAT RASTAFARIANS BUILT
Rastafarians in Ethiopia have been celebrating the anniversary of the coronation of Ethiopia’s last Emperor, Haile Selassie, some 71 years ago. Nowhere is this more the case than among a community of Rastafarians, who have settled in the small southern Ethiopian town of Shashamene. The Rastafarians, who are mainly from Jamaica, started migrating to Ethiopia 38 years ago, when Haile Selassie, whom they consider to be God incarnate, gave them 500 hectares of land on which to settle. Since the first 12 Jamaican settlers in 1963, the community has grown to over 200 families. Papa Rocky, a 74 year old Rastafarian elder from Jamaica believes western countries should help repatriate all those who might wish to return to their native land, but do not have the means to do so.
ROOM FOR MORE “I am lucky to have saved the money to eventually come here, but back home millions just don’t have the money to return. The West may have removed the shackles and chains, but they still keep us bound by economic slavery,” he says. The Rastafarian community insist that a mass exodus of Jamaicans to Ethiopia would not be a burden, despite the poverty and economic difficulties faced here. Some of them are skilled tradesmen such as carpenters and builders. Others are shop owners and they say that over the decades they have played an important role in the development of Shashamene. “We have the know-how to develop the whole place as we have endured slavery, so we have good knowledge,” says 72-year-old Pharmacist Gladstone Johnson Sr, one of the first settlers in Shashamene, says they are here to help.
“We plan to make Shashamene a model city, with good infrastructure and telecommunications. It will rise above all other African cities”, he adds.
SCEPTICS But Ethiopians living in Shashamene are sceptical. “The Rastas are nice people and very friendly. They teach us English and give us employment, but they have done little for the development of the town,” said one Ethiopian teacher, who wished to remain anonymous. “All they do is smoke marijuana, which the Ethiopian farmers here grow for them. Some in the town don’t like this, as our children have also started to use this drug. We like them as they integrate and there is a lot of inter-marriage, but the marijuana has to stop,” says 27-year-old mechanic Adbul Onduka. Others in the town find the beliefs of the Rastafarian faith at loggerheads with the local faiths of Islam and Orthodox Christianity. The Rastafarian faith views Emperor Haile Selassie as the Messiah of the African people, but most Ethiopians disagree. “He was a good leader but he did oppress the masses and it was a feudal system under his rule. He is not a god. He was a mere mortal,” said one Ethiopian in Shashamene.
and learn about the Emperor,” says Papa Rocky. “Ethiopians have to stop looking to the sky for a white blue eyed Messiah, Haile Selassie is the real Messiah,” says Papa Rocky.
RIGHTS But the biggest problem the Rastafari community face is with the Ethiopian government. Even though they were originally given 500 hectares, the Rastafarians complain that in the aftermath of the overthrow of the Emperor by the Marxist military leader, Mengistu Haile Mariam, most of the land was confiscated and they have now been left with only 11 hectares. In a letter addressed to the Organisation of African Unity earlier this year, the Rastafari community complained that local people have occupied and settled on much of the land given to them. Their letter also bemoans their lack of legal status and citizenship. Gladstone Johnston Sr says that they had expected better treatment when they left their lives in the West. “We left the West and came to Ethiopia with the intention of being accepted as Africans with the rights to African citizenship. We therefore desire to have full legal status and to be recognised as citizens, with all the privileges and rights to work and travel freely as Ethiopians,” he says. BBC News, Monday, 5 November, 2001
The Rastafarians say they plan “to educate” the Ethiopian people about their last Emperor. “We have established a library and museum in Shashamene, dedicated to our King of Kings, our Lion of Judah. The Ethiopians can come
61
INSPIRATIE/ONDERZOEK
62
63
THE MEANING OF ZION IN THE RASTAFARI MOVEMENT
In the Rastafari movement, “Zion” stands for a utopian place of unity, peace and freedom, as opposed to “Babylon”, the oppressing and exploiting system of the materialistic modern world and a place of evil. referring to the spiritual kingdom of God), Trevor Hall with song “To Zion”, and Australian roots reggae outfit Vindan and The Zion Band, also Alcyon Massive (a reggae/ psychedelic band in Southern Oregon) wrote a song titled “Zion”. The rock band Rush also reference Zion/Babylon duality in the song “Digital Man” with the following lyrics: “He’d love to spend the night in Zion. He’s been a long while in Babylon”.
It proclaims Zion, as reference to Ethiopia, the original birthplace of humankind, and from the beginning of the movement calls to repatriation to Zion, the Promised Land and Heaven on Earth.[17] Some Rastafari believe themselves to represent the real Children of Israel in modern times, and their goal is to repatriate to Ethiopia, or to Zion. Rastafari reggae is peppered with references to Zion; among the best-known examples are the Bob Marley songs “Zion Train”, “Iron Lion Zion”, the Bunny Wailer song “Rastaman” (“The Rasta come from Zion, Rastaman a Lion!”), The Melodians song “Rivers of Babylon” (based on Psalm 137:1,3,4), the Bad Brains song “Leaving Babylon”, the Damian Marley song featuring Nas “Road to Zion,” The Abyssinians’ “Forward Unto Zion” and Kiddus I’s “Graduation In Zion,” which is featured in the 1977 cult roots rock reggae film Rockers, and “Let’s Go To Zion” by Winston Francis. Reggae groups such as Steel Pulse and Cocoa Tea also have many references to Zion in their various songs. In recent years, such references have also crossed over into pop and rock music thanks to artists like MindZion, O.A.R. “To Zion Goes I”, Sublime, Lauryn Hill, Boney M. (“Rivers of Babylon”), Black Uhuru “Leaving to Zion”, Fluid Minds “Zion”, Dreadzone with the reggaetinged track “Zion Youth.”, P.O.D. with song “Set Your Eyes to Zion” (but P.O.D. with a Christian viewpoint: Zion
THE PROMISED LAND - DENNIS BROWN
Wikipedia, Zion
64
“Zion, The Promised Land and Heaven on Earth”
65
INSPIRATIE/ONDERZOEK
“It’s tIme to unIte!”
THE PROMISED LAND - DENNIS BROWN
66
67
EXPERIMENT
68
AFRICA MUST BE FREE BY 1983 Hugh Mundell
01 02 03 04 05 06 07 08 09
Let’s All Unite My Mind Africa Must Be Free By 1983 Why Do Black Man Fuss And Fight Book Of Life Run Revolution A Come Day Of Judgement Jah Will Provide Ital Slip
69
AFRICA MUST BE FREE BY 1983 - HUGH MUNDELL
70
71
DETAILS
“NO
MORE
Vietnam protest in het Kezar Stadium, San Francisco
http://www.tumblr.com/tagged/we%20want%20weed
AFRICA MUST BE FREE BY 1983 - HUGH MUNDELL
72
Students protesting with peace signs, NCSU Library
WAR!”
Support Demonstration for draft resister Mike Leavy, at Seattle’s Federal Building, 1968, Foto - Fred Lonidier
73
INSPIRATIE/ONDERZOEK
“NO
http://iaac-readings.wikidot.com/words:segregation
Angela Davis & Jonathan Jackson - Black Panther Party
Down with this sort of thing, Foto - bakablue08 (DeviantArt)
AFRICA MUST BE FREE BY 1983 - HUGH MUNDELL
Wall St. is War St. (http://stokafeneio.tumblr.com/page/2)
74
MORE Double V Campaign, 1 Jan 1944
BEATING!”
March On Washington. 1963, Foto - Granger
75
INSPIRATIE/ONDERZOEK
“NO
Africa Day protest in Cape Town, November 16, 1962, Cape Times Collection
MORE
Rastas protesting outside Ocean View
AFRICA MUST BE FREE BY 1983 - HUGH MUNDELL
76
“Try Police Not Huey” opening day Huey P Newton trial - Oakland Court house - l969
SLAVERY!”
Yellow Peril - Oakland, California - 1969
77
INSPIRATIE/ONDERZOEK
AFRICA MUST BE FREE BY 1983 - HUGH MUNDELL
78
79
INSPIRATIE/ONDERZOEK
AFRICA MUST BE FREE BY 1983 - HUGH MUNDELL
80
81
INSPIRATIE/ONDERZOEK
82
VISIONS Dennis Brown
01 02 03 04 05 06 07 08 09 10
Deliverance Will Come Oh Mother Love Me Always Concrete Castle King Malcolm X Repatriation Jah Can Do It Milk And Honey Stay At Home Say What You Say
83
VISION - DENNIS BROWN
84
85
DETAILS
“PEOPLE FOR THOUGHTS Synrise - Goose, Ontwerp - Storm Thorgerson
VISION - DENNIS BROWN
MY 86
PAY
ME MY
Amputechture - The Mars Volta, Ontwerp - Storm Thorgerson
Wake Up and Smell the Coffee - Cranberries, Ontwerp - Strom Thorgerson
AND DREAMS
Bury the Hatchet - Cranberries, Ontwerp - Strom Thorgerson
87
INSPIRATIE/ONDERZOEK
I
THINK THAT I’M FORTUNATE”
Slip Stitch And Pass - Phish, Ontwerp - Storm Thorgrson Big Disks - Steve Miller Band, Ontwerp - Storm Thorgrson A Momentary Lapse Of Reason - Pink Floyd, Ontwerp - Storm Thorgrson
VISION - DENNIS BROWN
88
IN SENSE VERY STORM † THORGERSON Elegy - The Nice, Ontwerp - Storm Thorgrson
89
INSPIRATIE/ONDERZOEK
“LIVING IN YOUR CONCRETE CASTLE ON THE HILL YOU DON’T KNOW WHAT LIFE IS LIKE IN THE GHETTO”
VISION - DENNIS BROWN
90
91
EXPERIMENT
92
EQUAL RIGHTS Peter Tosh
01 02 03 04 05 06 07 08
Get Up, Stand Up Downpressor Man I Am that I Am Stepping Razor Equal Rights African Jah Guide Apartheid
93
EQUAL RIGHTS - PETER TOSH
94
95
DETAILS
http://www.clutchmagonline.com/2010/06/when-black-power-goes-overboard/
Frontpage Detroit Free Press on Thursday, March 19, 1987
EQUAL RIGHTS - PETER TOSH
96
“GET UP, STAND UP STAND UP FOR YOUR RIGHTS” Black Power - Inri (DeviantArt)
97
INSPIRATIE/ONDERZOEK
“DON’T CARE WHERE YOU COME FROM,
EQUAL RIGHTS - PETER TOSH
98
AS LONG AS YOU’RE A BLACK MAN, YOU’RE AN AFRICAN”
99
INSPIRATIE/ONDERZOEK
EQUAL RIGHTS - PETER TOSH
100
EQUAL RIGHTS
/
/
PETER TOSH
EQUAL RIGHTS
/
/
PETER TOSH
EQUAL RIGHTS
/
/
PETER TOSH
101
EXPERIMENT
EQUAL RIGHTS - PETER TOSH
102
103
EXPERIMENT
104
MARCUS GARVEY Burning Spear
01 02 03 04 05 06 07 08 09 10
Marcus Garvey Slavery Days The Invasion Live Good Give Me Old Marcus Garvey Tradition Jordan River Red, Gold & Green Resting Place
105
BURNING SPEAR – MARCUS GARVEY
106
107
DETAILS
“DO REMEMBER DAYS Slave shackles, Does the Bible condone slavery? - The Burton Wire
BURNING SPEAR – MARCUS GARVEY
SLAVERY?” 108
African Human Market (http://africanamericansslavery.blogspot.be/2012/05/human-market-slave-trade-neither.html)
Torture - http://ghatak.wordpress.com/2009/04/
YOU Afbeeling - Š Alistair Boddy-Evans. Licensed to About.com, Inc
THE afbeelding door Rod Brown, courtesy - The British Empire & Commenweath Museum
OF
Stowage of the British slave ship Brookes under the regulated slave trade act of 1788
109
INSPIRATIE/ONDERZOEK
Marcus Garvey Poster, Ontwerp - onbekend
Roots Tree, Ontwerp - Onbekend
BURNING SPEAR – MARCUS GARVEY
110
African Roots Act 1, Ontwerp - LAM Graphics International
111
INSPIRATIE/ONDERZOEK
BURNING SPEAR – MARCUS GARVEY
112
113
EXPERIMENT
MARCUS GARVEY
B U R N I N G
BURNING SPEAR
MARCUS GARVEY
BURNING SPEAR
B U R N I N G
S P E A R
M A R C U S
G A R V E Y
BURNING SPEAR
BURNING SPEAR – MARCUS GARVEY
114
S P
ORIGIN AND CULTURE IS LIKE A TREE WITHOUT ROOTS.”
115 ORIGIN AND CULTURE IS LIKE A TREE WITHOUT ROOTS.”
“A PEOPLE WITHOUT THE KNOWLEDGE OF THEIR PAST HISTORY,
“A PEOPLE WITHOUT THE KNOWLEDGE OF THEIR PAST HISTORY,
ORIGIN AND CULTURE IS LIKE A TREE WITHOUT ROOTS.”
“A PEOPLE WITHOUT THE KNOWLEDGE OF THEIR PAST HISTORY,
BURNING SPEAR
MARCUS GARVEY
BURNING SPEAR
MARCUS GARVEY
BURNING SPEAR
MARCUS GARVEY
EXPERIMENT
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ARISE The Abyssinians
01 02 03 04 05 06 07 08 09 10 11
Oh Lord This Land Is For Everyone Mightiest Of All Meditation Wicked Men Jah Loves Dem A Come South African Enlistment Hey You Let My Days Be Long
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ARISE - THE ABYSSINIANS
118
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DETAILS
26
11
2011
Ikpo Nsibidi Dictionary - http://nsibiri.blogspot.be
ARISE - THE ABYSSINIANS
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Radicals 1
121
INSPIRATIE/ONDERZOEK
The characters
Key
glyph
status
word (transliteration)
Mmf
glyph
status
O
Mmf
O
word (transliteration)
ágwú
nwa
[i]-[o]-chie
glyph translation (English)
status
word (transliteration)
translation (English)
leopard
O
mgbele
trade (n.)
child
O
asato
eight
chief (n.)
O
itoolu
nine
tree
O
iri
ten
osisi
root
O
mmiri
O
nsogbu
ézè
O
king
O
O
kpakpando
ute
aghala
Mmf
market plac
mádu
àku
N
O
Ikpo Nsibidi Dictionary - http://nsibiri.blogspot.be
ARISE - THE ABYSSINIANS
122
house
O
òpià
O
okpòlò
sword, match
mat rod
riot, disturbance
wealth
foot, leg
aba
human, pers
star, stars
O
Mm
problem, pala
snake
Mf
N
water
Mf
O
Mf
translation (Eng
hook
razor
glyph
status
word (transliteration)
Mmf
translation (English)
support, help
glyph O
ótù
status
word (transliteration)
translation (English)
O
mgbele
trade (n.)
O
asato
eight
O
itoolu
nine
O
iri
ten
O
kpakpando
star, stars
O
ute
mat
O
aghala
riot, disturbance
Mm
àku
wealth
one
tion (English) O
two
root O
three
N
tender palm frond
water
glyph
status
word (transliteration)
translation (English)
em, palaver O
guard (n.)
O
four
snake O
égbè
gun
N
okpuru
under, below
rket place N
train, raise
Mm
forest, bush
S
sun
N
impregnate, germinate
an, person O
[nwa]anyi
female
house O
[nwa]oke
male
rd, matchet
N O
ise
O
ishii
six
O
asaa
seven
N
élú
up, top, atop
N
úgwú
hill
foot, leg
rod
O
aba
hook
razor
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INSPIRATIE/ONDERZOEK
[BRING]
[chains]
[Forced]
[BRoke]
[DAY]
[give]
[came]
[field]
[light]
ARISE - THE ABYSSINIANS
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[long]
[strong]
[and]
[love]
[sun]
[work]
[peace]
[together]
[you]
125
EXPERIMENT
A BYS S I N I A N S
[ARISE]
THE A BYS S I N I A N S
[ARISE]
ARISE - THE ABYSSINIANS
126
THE A BYS S I N I A N S
[ARISE]
127
EXPERIMENT
128
AFRICAN ROOTS Michael Rose
01 02 03 04 05 06 07 08 09 10
African People Babylon Bow Stepping Out Of Babylon No Burial Wan Fi Go Wicked Run Glitter Better Mus’ Come Days Of History No Burial (Manasseh Remix)
129
AFRICAN ROOTS - MICHAEL ROSE
130
131
DETAILS
Traditional Ethiopian Decoration - http://www.habeshaadventures.com
+
Panthera leo (male head), Foto - Nevit Dilmen
TITEL - ARTIEST AFRICAN ROOTS - MICHAEL ROSE
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INSPIRATIE /ONDERZOEK HOOFDSTUK
AFRICAN ROOTS
MICHAEL ROSE
AFRICAN ROOTS
MICHAEL ROSE
AFRICAN ROOTS
MICHAEL ROSE
AFRICAN ROOTS - MICHAEL ROSE
134
AFRICAN ROOTS
MICHAEL ROSE
AFRICAN ROOTS
MICHAEL ROSE
AFRICAN ROOTS
MICHAEL ROSE
135
EXPERIMENT
aFRiCa UMoJa ReCoRDs MiCHael Rose
1. AFRICAN PEOPLE BABYLON BOW 2. STEPPING OUT OF 3. BABYLON 4. NO BURIAL 5. WAN FI GO 6. WICKED RUN 7. GLITTER 8. BETTER MUS’ COME 9. DAYS OF HISTORY 10. NO BURIAL (MANASSEH REMIX)
AFRICAN ROOTS
aFRiCan RooTs TC37548
MICHAEL ROSE
AFRICA UMOJA RECORDS
1. AFRICAN PEOPLE BABYLON BOW 2.
AFRICAN ROOTS
STEPPING OUT OF 3. BABYLON 4. NO 5.
WAN FI GO RUN
GLITTER
8.
MUS’
COME
10. NO
9.
DAYS
OF
BURIAL (MANASSEH
7.
BETTER HISTORY REMIX) TC37548
AFRICA UMOJA
AFRICAN ROOTS - MICHAEL ROSE
AFRICAN ROOTS
6. WICKED
MICHAEL ROSE
BURIAL
136
MICHAEL ROSE
AFRICA UMOJA RECORDS AFRICAN ROOTS TC37548
AFRICA
Bass, Drums [Additional], Guitar, Keyboards – Ryan Moore // Drums – Waul // Percussion – Skully Simms, Norman Grant // Saxophone
UMOJA
AFRICAN ROOTS
MICHAEL ROSE
1. AFRICAN PEOPLE BABYLON BOW 2. STEPPING OUT OF 3. BABYLON 4. NO BURIAL 5. WAN FI GO 6. WICKED RUN 7. GLITTER 8. BETTER MUS’ COME 9. DAYS OF HISTORY 10. NO BURIAL (MANASSEH REMIX)
Style Scott // Guitar – Chinna Smith // Keyboards – Franklin Bubbler – Dean Fraser // Trumpet – Bobby Ellis // Cover Design - B. Derks
MICHAEL ROSE
137
TC37548
Style Scott // Guitar – Chinna Smith // Keyboards – Franklin Bubbler – Dean Fraser // Trumpet – Bobby Ellis // Cover Design - B. Derks
AFRICAN ROOTS
UMOJA
AFRICAN ROOTS
MICHAEL ROSE
AFRICA
Bass, Drums [Additional], Guitar, Keyboards – Ryan Moore // Drums – Waul // Percussion – Skully Simms, Norman Grant // Saxophone
AFRICA UMOJA RECORDS
1. AFRICAN PEOPLE 2. BABYLON BOW 3. STEPPING OUT OF BABYLON 4. NO BURIAL 5. WAN FI GO 6. WICKED RUN 7. GLITTER 8. BETTER MUS’ COME 9. DAYS OF HISTORY 10. NO BURIAL (MANASSEH REMIX)
MICHAEL ROSE
EXPERIMENT
Mijn doel was om muziek en grafisch ontwerp te koppelen in één project. Het was een lange zoektocht, maar als ik terugblik op de voorbije maanden, vind ik dat ik mijn doel heb bereikt. In mijn onderzoek heb ik de verschillende apecten van de reggaemuziek onderzocht. Hierbij ben ik helemaal terug naar ‘de Roots’ gaan kijken en heb ik geprobeerd een zo zuiver mogelijk ontwerp te creëren voor elke hoes. Elk album vereist een andere aanpak en dit maakte van mijn masterproef een interessant project, waar ik met plezier aan heb gewerkt. Ik zou in de eerste plaats ‘De Veerman’ willen bedanken voor de accomodatie en de voorzienignen. Ook zou ik mijn coach, Reg Herygers, mijn docenten, vriendin en medestudenten willen bedanken voor de hulp, feedback en steun.
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